Posts Tagged ‘byzantine’

European Political Map In The Early Middle Ages

Thursday, January 27th, 2011

early middle ages, middle ages, medieval history, castles, strongholds

photo by Anthony Dodd

By Isaac Vusterly

European political map in the Early Middle Ages (476-ca.1000) saw dramatic changes. The first phase of the Migration Period (ca. 300-500) and collapse of the Western Roman Empire was followed by the emergence of Germanic kingdoms in Central, Western and South Europe most of which were short-lived.

The realm of the Franks which later came to be known as the Carolingian Empire emerged as the strongest of all early medieval Germanic kingdoms and greatly expanded its power and territory on the expense of other early medieval political units. It reached its height during the reign of Charlemagne (481-511) when it incorporated much of Central and Western Europe.

The power of the Carolingian Empire started to decline after Charlemagne’s death and the sons of Louis the Pious divided the Charlemagne’s empire into three kingdoms in 843. Disintegration of the Carolingian Empire continued and by the end of the Early Middle Ages, two European powers emerged on the ruins of the former Charlemagne’s empire – Kingdom of France and Holy Roman Empire.

Germanic peoples occupied a large part of Great Britain after the withdrawal of Roman legions in the 5th century. Settlement of the barbarian peoples in England was followed by the emergence of seven Anglo-Saxon Kingdoms (also known as the Heptarchy) by the end of the 6th century. At the end of the 8th century Great Britain saw the Danish invasions, while neither of the Anglo-Saxon Kingdoms was able to repulse the invaders.

The migration of Germanic peoples was followed by the second phase of the Migration Period (ca. 500-700) which was characterized by settlement of the Slavic peoples in the Eastern and Central Europe, and the Balkans. Like the majority of early medieval Germanic kingdoms, most Slavic states ceased to exists as independent political units by the end of the Early Middle Ages.

The Iberian Peninsula was invaded and captured by the Muslims in the early 8th century. After they defeated the Christian kingdoms of the Iberian Peninsula, the Umayyad forces crossed the Pyrenees but the Muslim conquests in Western Europe ended after their defeat in the Battle of Tours in 732.

The Byzantine Empire managed to survive the barbarian invasions and even recaptured some of the territory of the former Western Roman Empire. Many territorial gains were lost in the later period due to the war with the Sassanid Empire which also enabled the Slavic peoples to capture the entire Balkan Peninsula.

Political changes in the Early Middle Ages were primarily marked by rise of numerous barbarian kingdoms. Most of early medieval kingdoms managed to survive for a short period only resulting in general political instability which was worsened by the Muslim conquest of the Iberian Peninsula, and the Viking and Hungarian invasions at the end of the Early Middle Ages. On the other hand, the early medieval Europe saw the emergence of the Carolingian Empire which became the precursor of the future European powers – Holy Roman Empire and Kingdom of France.

Article Source: http://EzineArticles.com/?expert=Isaac_Vusterly
http://EzineArticles.com/?European-Political-Map-In-The-Early-Middle-Ages&id=5536259

The Early Middle Ages: Europe 400-1000 (Short Oxford History of Europe)

The Early Middle Ages (400-1000) was one of the most dynamic and crucial periods in the formation of Europe. It covers the transition from the relatively diverse world of Roman Empire in late antiquity to the disparate world of early medieval Europe–where local differences assumed far greater significance, but where the institution of Latin Christianity lent coherence to the successor states. In this book, McKitterick and five other leading historians have collaborated closely to produce a set

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Italy in the Early Middle Ages: 476-1000

In this volume, ten leading international historians and archaeologists provide a fresh and dynamic picture of Italy’s history from the end of the Roman Western Empire in 476 to the end of the tenth century. Recent archaeological findings, which have so greatly changed our perceptions and understanding of the period, have been fully integrated into the eleven thematic chapters, which provide a fully rounded overview of the entire Italian peninsula in the early middle ages. The chapters consider

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The Great Courses Ancient & Medieval History: The Early Middle Ages Parts 1 and 2

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Medieval Castles – An Essay

Wednesday, January 5th, 2011

medieval castle, castle, medieval stronghold, arrow slits, castle arrowslits Medieval Castles – An Essay

By Michael Cooper

Castles remind us of a time that was full of adventure and romance. Castles remind us of a time in history in which there was a lack of government and order. Although there was not mass confusion and anarchy, there was less order. Castles were the basis of feudalism. Castles can be seen as a manifestation of feudal society. Feudalism started with the rise of castles and ended with their end. The castle set the tone as the only homestead that nobility would live in during this time. Castles were influenced by and influenced many medieval cathedrals in Europe. Although castles served many purposes, their primary purpose was military. At that time, people were not protected by merely shutting and locking a regular wooden door. They needed the protection of castles and their knights. The lords and constables of castles needed serfs to work the land to make revenue in order to pay rent to the more important nobles. Given the following evidence, it is relatively obvious why castles and castle building played an instrumental role in the development of Western Europe.

Castles are unique to a time in history known as medieval times. The word medieval in our times is an insult to anything as is the word feudal. Through the haze and ruins, one can imagine dungeons, chivalrous knights, and mighty Lords who ruled the land and protected the common peasant from barbarians and other invaders. The rise of castles marked the rise of feudalism. This was all started by the crusades. The majority of the knights and nobles went to liberate the holy land from the Muslims. The Crusades influenced castle builders back in Europe. Ideas were gathered from Muslim and Byzantine fortifications. Because of the lack of protection in Europe, a castle’s strength needed to be increased because of the ever-present threat of a Muslim invasion. The end of Feudalism also marked the end of the middle ages and hence the end of the great castle era.

Castles integrated the combination of residence and fortress. The first castle dates back to King Sargon II of Khorsabad in ancient Egypt. He erected a grand palace for himself to protect him and his subjects. The first recorded references to castles was the Edict of Pistes by Charles the Bald, king of the West Franks. “We will and expressly command that whoever at this time has made castles and fortifications and enclosures without our out permission shall have them demolished by the First of August” (Brown Architecture of Castles 13). Other castle laws were the Norman Institutions handed down by William the Conqueror after he took over England. One law says that no one shall raise castles in Normandy without the Duke’s license.

An ideal castle site was one that had natural obstacles for defense such as steep hillsides and water. Castles that were built on rocks or islands were especially effective. An example of this is Bodiam in Sussex which was the home of Sir Edward Dalyngrigge in 1385. A moat offered good protection, but building on a lake or river offered better protection. The site should not be too remote. It should have water and building material readily available nearby. A site should have a good climate, good pasture, and ample fertile land. If a castle had all these things, it would increase its chances of surviving a siege.

A large majority of early castles followed the motte and bailey design. These designs utilized earth and timber. A motte and bailey design is a design where the keep is on a hill or motte behind the bailey which is the open area of the castle similar to a town square. A bridge usually connected the motte to the bailey. The motte was a great mound of earth or rock. Sometimes it was artificial, but the majority of the time it was authentic. At its base there was a deep trench that resembled a moat. This was used as defense. Surrounding the motte was a wall of timber. The motte also contained the keep which is where the lord of the manor and his family lived. The keep was the innermost part of the castle. It was the last defense against attack. The keep has also been referred to as the donjon. This is where the French got the word dungeon meaning the jail or place to hold prisoners. Surrounding the entire premises was a wooden fence that was at least ten feet in height. These wooden stakes were then implanted in the ground for support. The fence sometimes stood upon posts to allow men to get through. During a siege, the perimeter would be covered with wet animal skins to curb the threat of arson. Most motte and bailey castles were built before William the Conqueror’s conquest in 1066.

Walter the Archdeacon wrote a biography of John, bishop of Therouanne about 1130. In it he describes Merchem Castle near Dixmude: “There was, near the porch of the church, a fortress which we may call a castle… exceedingly high, built after the custom of that land by the lord of the town many years before. For it is the habit of the magnates and nobles of those parts… to raise a mound of earth as high as they can and surround it with a ditch as broad as possible. The top of this mound they completely enclose with a palisade of hewn logs bound close together like a wall, with towers set in its circuit so far as the site permits. In the middle of the space within the palisade they build a residence, or, dominating everything, keep” (Brown Architecture of Castles 21)

Castle designers saw a need for improvement because wood and earth were not strong and were not effective protection against fire. There was also a need for bigger, grander castles because noble visitors did not travel alone so a castle would have to have enough room for the occasional visitor and his or her group. The architects who designed castles were known as master masons. They saw that stone would be a more effective building material. Although it was cold and hard to work with, it provided the much needed protection against fire. These newer castles are called enclosure castles. Like motte and dailey designs, enclosures castles had a wall protecting the perimeter of the manor. However these castles were not built upon hills or mottes. The keep of the castle was incorporated into the wall surrounding the property. These castles still had a bailey. With this new style of castles came a new construction material. Stone became the only material to build one’s castle out of because it made castles much stronger against attack. The tower of London is an example of a masonry castle. The ideal stone for castles was the fine limestone of Caen in Normandy. This limestone was soft when first quarried, but gradually became hard as it was exposed to air. To insulate against the cold stone walls of castles, the women made tapestries for the walls. The tapestries almost always contained a story relating to the castle. One of the most famous tapestries is the Bayeux Tapestry. It depicts the Norman knights before Hastings in 1066. Since they were now using stone, castle builders were able to integrate defenses into the castles.

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Greek Fire – a Terrifying Early Medieval Weapon

Saturday, January 1st, 2011

By Shane Dayton

Greek Fire, also known as Byzantine Fire, Greek Byzantine Fire, and Sea Fire, was a terrifying naval weapon mastered by the Greeks and the Byzantines during early Medieval times.

This may be the earliest form of naval napalm, and allowed their ships to fight with fire, with some claims that there was so much fire that it seemed like they could light the water itself.

The Byzantines usually used it in naval battles to great effect, and their opponents’ ships generally couldn’t escape it since the Greek fire would continue to burn, even on water. As the fire spread, more and more ships would be consumed by the fire.

greek fire, medieval warfare, byzantine warfare, medieval science, medieval naval battles

Byzantine ship using Greek fire in the late 11th century. Madrid Skylitzes manuscript.

By what few surviving historical accounts we have left, Greek fire could continue burning even on water and was largely responsible for many Byzantine military victories, extending the life of the empire several centuries.

During many early battles with Islamic nations over Constantinople, victory was assured only because Greek fire could not be countered, and was used to devastating effect.

What is really interesting is that accounts have the fire being transmitted in streams of fire from enemy ships, almost like a flame thrower. The exact formula for this naval medieval weapon was a secret, and actually remains a mystery to this day.

Scientists can only guess as to what it was, and how it was shot in a flame thrower form. The funny thing is, they really have no clue, showing that in some ways, our ancestors were certainly had technologies we don’t have today!

There are varying accounts of where Greek fire came from, though many believe that it was invented in Constantinople by chemists who studied the early sciences. Accounts say putting water on the fire only spread it more widely, leading many historians to believe it was some form of oil.

While Greek fire gave the Byzantines a frightening weapon, they fell because they were surrounded on all sides, and eventually just ran out of population. This Greek fire was used against barbarians, Muslim invaders, and the Rus–not to mention the Venetians when the Fourth Crusade decided to sack Constantinople instead of continuing on.

Everyone knew to fear Greek fire, and it probably had the same effect that a well hidden sniper has on enemy forces in modern times.

The major down side was that Greek fire was very hard to control, and it would often accidentally set Byzantine ships ablaze, and an occasional accident could result in huge casualties in their own armies.

The effectiveness of Greek fire was obvious, but even so it had its own limitations. For example, because of its short range it was far more effective as a weapon in narrow straights or canals than in the open seas where there was room to maneuver.

From what we know, whatever the ingredients were, they were heated in a cauldron, and then pumped out of the ship in a fiery stream. Some degree of this was adapted for city use, and used in early “grenade” like form: terrifying cavalry and soldiers alike.

If you liked this article, please feel free to visit my Medieval Weapons.

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Greek Fire, Poison Arrows & Scorpion Bombs: Biological and Chemical Warfare in the Ancient World

With the news full of talk about bioterrorism and chemical weapons, Adrienne Mayor’s exploration of the origins of biological and unethical warfare is an attention-grabber that follows through with fascinating illustrative episodes. A meticulously researched page-turner, Greek Fire, Poison Arrows & Scorpion Bombs draws extraordinary connections between the mythical worlds of Hercules and the Trojan War, the accounts of Herodotus and Thucydides, and modern warfare.

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Early Medieval Period – Ottonian Art – A Glimpse

Friday, December 31st, 2010

By Annette Labedzki

The Pre-Romanesque period in German art history, between circa 919-1056, is called “Ottonian Period,” after the names of three Saxon Emperors of the Holy Roman Empire, named Otto-Otto, the Great, Otto II, and Otto III, who ruled from 919-1024. The Ottonian Empire included the lands that now are Germany, Switzerland, and Northern & Central Italy. This period was one of the greatest ages after the fall of Carolingian Empire. Economic growth and political patronage helped in creating an atmosphere of increased cultural and artistic activity, which along with Late Antique, Byzantine, and Carolingian influences, helped develop a distinctive style, the Ottonian Art form.

ottonian artwork, early medieval period, ottonian

The Ottonian emperors wanted the history to remember them as great rulers. Towards this objective, they trumpeted their closeness to the pope, the fact that gave them spiritual authority to rule. They also sought close ties with the contemporary empires of repute, primarily the Byzantine, a civilization of much superior might and sophistication. They were especially impressed by the likes of Constantine, Theoderich, & Justinian of Late Antique, and Charlemagne of Carolingian Empire. Byzantine portrait of Justinian, a Barberini ivory work, placed with the portrait of Otto III in “Munich Gospels of Otto III,” reflects the connect. Due to these close ties, the Ottonian artisans and artists were exposed to art forms that showed the majesty and the grandeur of other empires. The Ottonian emperors too therefore, patronized the visual art forms that announced their greatness.

This period was also associated with reform and growth in the church, and the monasteries were the producers of the finest Ottonian Art. The artistry included magnificent churches & cathedrals and richly decorated luxury objects, meant for accessorizing the treasures and interiors of these religious buildings.

The Medieval illuminated manuscripts, manually written books with bright and beautiful illustrations, painted or drawn, that lit up or illuminated the page, became an important form of artistic expression. All this was possible due to the sponsorship and the patronage of the emperor & the bishops, as they helped arrange the best of the tools and skills possible. Master of the Registrum Gregorii, or Gregory Master, who worked between 970 and 980, was one sought out artist of the era. He created “Codex Egberti,” (980s). “Munich Gospels of Otto III” (c. 1000) and the “Pericope Book of Henry II” (c. 1001-1024) are some other exemplary books of the Early Medieval Period.

In architecture, the main characteristics of the Ottonian basilicas were symmetry, wide aisles, and bare walls. Clear, circular forms and detailed facial expressions characterized the religious sculpture. The doors of the cathedrals and churches were at times decorated with sophisticated bronze relief.

Ottonian artisans were also proficient in fine metalwork and created some of the world’s most astonishing luxury objects. The emperor’s court in its effort to match the glory and the pomp of the Byzantine Empire, splurged on huge ceremonies and magnificent attire. This in turn boosted the demand for brilliant ornaments and jewelry to complement them. Ottonian artifacts were more ornate than descriptive. They displayed a Germanic taste for “abstract” geometric pattern, fine details, and intricate techniques. Gems, enamels, crystals, and cameos, complimented the metalwork, with ivory work also being quite creatively competent. The “Otto-Mathilden Cross” is one of the most landmark sculptures of the Ottonian Art belonging to the Early Medieval period.

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com

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Turkish Art and Architecture: From the Seljuks to the Ottomans

The Anatolian peninsula, one of the oldest seats of civilization, has been ruled by a succession of great powers, including the Romans and their successors in the East, the Byzantines. Its Islamic era began in 1071, when the Seljuk Turks, nomads from Central Asia who had already taken control of Persia, defeated the Byzantine army at Manzikert and moved west, creating a new sultanate in Anatolia. The Seljuks were eventually succeeded in this region by the Ottoman Turks, who crossed the Bosphorus

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Images of the Ottoman Empire

In the sixteenth and seventeenth centuries, the Ottoman Empire was one of the world’s great powers. Generations of travelers—explorers, traders, tourists, scientists, artists—were drawn to these magical lands. Whether depictions of contemporary life in the bustling street, the court, the harem, or elegiac evocations of the ruins of antiquity, the hundred images selected here by artists from David Roberts and Edward Lear to John Frederick Lewis bring a largely vanished world vividly to life

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Global Interests: Renaissance Art Between East and West (Reaktion Books – Picturing History)

Looking outward for confirmation of who they were and what defined them as “civilized,” Europeans encountered the returning gaze of what we now call the East, in particular the attention of the powerful Ottoman Empire. Global Interests explores the historical interactions that arose from these encounters as it considers three less-examined art objects—portrait medals, tapestries, and equestrian art—from a fresh and stimulating perspective. As portable artifacts, these objects are particularl

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Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to hare

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